Yes, we digress, but this was all on our minds when we assembled our list of long takes, because as much as we dislike the fetishization of form over content, in that debate, the long take may well be ground zero, as it’s one instance of formal experimentation that is often so ostentatious that even the casual viewer, or the most determinedly story-oriented critic, can and does pick up on it. Write for the viewer.” How much do any of us, as viewers, want to know how the sausage is made, and how much do we just want to know, in the most literate and insightful way possible, that it’s going to taste delicious? So where Seitz states “ Films… are made by filmmakers. Write about the filmmaking” we’d have to counter with “yes, but films are made for viewers. And yet, for us, that’s exactly the paradox that hovers round the fringe of this list: contrary to the kind of analysis after which Seitz seems to hanker (echoing Andrew Sarris, among others), our own impulses are always toward the description of the effect of a particular technique on one’s understanding of the story or mood, rather than on the technique itself. Sparked off by a well-written, interesting and articulate post by Matt Zoller Seitz over on with which we disagree so violently we may have dislocated something, the debate actually has some bearing on this feature: it is, after all, about a group of films that are sharing column space based on formal rather than thematic or narrative similarity.
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Martin Scorsese: My Mother Was 'Really Improvising' Her Entire 'Goodfellas' Scene This turned out to be a timely endeavor, because as you may know, recently a debate has kicked off in the (God forgive me) blogosphere about whether or not critics and film commentators should talk and write more about the form and craftsmanship aspects of filmmaking than they (we) currently do. This approach characterized Gareth Evans‘ shooting style last time out too and still feels like a refreshing counterpoint to the hyper-kinetic Michael Bay school of editing, which often feels like it’s hiding as much as it’s showing.īut if the use of long takes in action sequences is still a relatively novel phenomenon, the cinematic history of the extended take in general is much longer and we thought we’d take this opportunity to choose our favorites. Continuing on from the original “ The Raid,” though by all accounts ( ours included) creating fight scenes even more fluid and flabbergasting than its predecessor (which was pretty much all one fight scene), it employs many takes of above-average length to give an extra edge of realism and dynamism to the old ultra-violence. This weekend, “ The Raid 2” opens, in all its chop-socky glory, in limited release and will expand in the weeks to come.
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